text:
Hilde Meisel (* 31. Juli 1914 in Wien; † 17. April 1945 in Tisis bei Feldkirch) war eine Sozialistin und Publizistin. Ab 1932 veröffentlichte sie Artikel in der Tageszeitung "Der Funke" gegen die NS-Diktatur. In weiteren Beiträgen zu Zeitschriften, Büchern und Rundfunksendungen rief sie im englischen Exil, unter dem Pseudonym Hilda Monte, zum Widerstand gegen den Nationalsozialismus auf. Obwohl als Sozialistin und Jüdin stark gefährdet, unternahm sie wiederholt geheime Missionen nach Deutschland, Portugal und Österreich. Weitere Decknamen, die sie in der Emigration benutzte, waren Hilde Olday (nach einer Scheinheirat), Selma Trier, Helen Harriman, Eva Schneider, H. Monte und Hilde Monte.

Frühe politische Prägung
Sie wurde als jüngere von zwei Töchtern in einem nicht strenggläubigen bürgerlich-jüdischen Elternhaus in Wien geboren, wo die Familie bis 1915 lebte. Danach zogen ihre Eltern, Ernst und Rosa Meisel, zurück nach Berlin. Der Vater Ernst Meisel arbeitete im Im- und Export von Haushaltsartikeln.

Laut dem Berliner Adressbuch waren ihre Eltern von 1915 bis 1936 in Berlin gemeldet. Bis zur Pubertät prägte eine Schilddrüsenkrankheit ihr Leben, und sie musste deshalb mit ihrer Mutter häufiger in die Schweiz zur Kur. 1924 wandte sich ihre ältere Schwester Margot einer deutsch-jüdischen Jugendgruppe mit sozialrevolutionären Ideen, dem "Schwarzen Haufen" (SH), zu, die bis 1927 den liberalen deutsch-jüdischen "Wanderbund-Kameraden" angehörte und sich 1928 auflöste.

Hilde Meisel absolvierte von 1924 bis 1929 das Lyceum Berlin. Als 1929 ihr Onkel, der bekannte Dirigent und Komponist Edmund Meisel, in London arbeitete, kam sie zum ersten Mal nach England. Im selben Jahr unternahm sie ihre ersten Aktivitäten im Internationalen Sozialistischen Kampfbund (ISK). Als der ISK 1932–1933 eine eigene sozialistische Tageszeitung – Der Funke – herausgab, beteiligte sich Hilde Meisel mit einer Reihe von Artikeln über ökonomische und soziale Probleme in Frankreich, England, Spanien und Indien.

Nach der Machtergreifung der Nazis

Bei einem ersten Aufenthalt in London, ab 1929, belegte sie Kurse in Nationalökonomie an der London School of Economics.

Über den Internationalen Sozialistischen Kampfbund (ISK) fand sie Kontakt zu politischen Freunden in verschiedenen Ländern. Unter dem Pseudonym Hilda Monte brachte sie ihren Gesinnungsgenossen in Deutschland Literatur und Informationen und half auch so manchem bei der Flucht aus Deutschland.

Die Beiträge, die sie 1934 bis 1938 für die Sozialistische Warte, eine Exil-Publikation des Internationalen Sozialistischen Kampfbundes (ISK), schrieb, befassten sich meist mit internationalen Wirtschaftsfragen.

Als sich die Lage des Strafverteidigers Hans Litten im KZ Dachau dramatisch zuspitzte, beteiligte sie sich auf die Bitte ihrer Schwester Margot intensiv an den Bemühungen um seine Freilassung. Sie korrespondierte darüber mit anderen Unterstützern und erreichte, dass am 26. Januar 1938 im Manchester Guardian ihr Aufruf "In Dachau Camp. The Tragic Case of Hans Litten" veröffentlicht wurde. Diese Aktionen blieben erfolglos. Hans Litten beging nur wenige Tage später in der Nacht vom 4. auf den 5. Februar 1938 Suizid.

1938 ging Hilde Meisel – zur Vermeidung der Ausweisung aus Großbritannien – eine Scheinheirat mit dem homosexuellen deutsch-britischen Karikaturisten John Olday (1905–1977) ein. Sie wurde dadurch britische Staatsbürgerin und konnte ihre Tätigkeiten in England wesentlich einfacher durchführen. Dabei entwickelte sie eine rege publizistische Tätigkeit mit Beiträgen in The Socialist Vanguard, Sozialistische Warte, Left News und Tribune.

Wie kann man Hitler besiegen [Hilda Monte] 1939–1945

How to conquer Hitler

Zusammen mit Fritz Eberhard veröffentlicht sie die Schrift "How to conquer Hitler - A Plan of Economic and Moral Warfare of the Nazi Home Front". Es wird vermutet, dass der größte Teil von ihm verfasst wurde.

Damit ihre englischen Leser ihren Namen auch vernünftig aussprechen konnten, wandelte sie ihren Vornamen bei englischen Veröffentlichungen in "Hilda Monte" ab. In ihren deutschsprachigen Manuskripten benutzte sie aber weiterhin das Pseudonym "Hilde Monte", bei Anwesenheitslisten auf Veranstaltungen die Abkürzung "H. Monte" und bei Veröffentlichungen, bei denen sich Behörden weigerten, unter einem dieser Namen etwas zu veröffentlichen, notgedrungen den Namen "Hilde Olday".

In seiner Publikation "Arbeit gegen das Dritte Reich" erwähnt Fritz Eberhard näheres dazu:

 Ein Einschnitt in meiner Emigrantenarbeit war der Kriegsausbruch. Zu dieser Zeit habe ich mich dann auch von der Organisation, vom ISK getrennt. Ich war danach nicht politisch, aber gewerkschaftlich organisiert; war also in England ein politischer Einzelgänger. Meine Eintrittskarte sozusagen zu einem erträglicheren und fruchtbareren Emigrantendasein war ein Buch, das ich sehr rasch nach Kriegsbeginn geschrieben hatte aufgrund von vorher laufenden Vorbereitungen, zusammen mit Hilda Monte, die erst einen Tag vor Kriegsausbruch Deutschland verlassen hatte, vorher aber auch in England gewesen war.
 Sie hatte die letzten Erfahrungen in Deutschland gemacht über die psychologische Lage der Bevölkerung. Dieses Buch 'How to conquer Hitler' gab Ratschläge für den ökonomischen und den psychologischen Krieg gegen Hitler (How to conquer Hitler = Wie kann man Hitler besiegen). Glänzende Besprechungen hatte dieses Buch, das Buch ist eine Seltenheit, denn der größte Teil der Auflage befand sich in einem Lagerhaus am Hafen, als dieses von Nazibomben zerstört wurde. Wenn das Buch deshalb auch zu keiner großen Verbreitung kam, manche wichtigen Leute kannten es doch, und so manche Türen öffneten sich für mich.

Die Trennung vom ISK

Im Herbst 1939 trat sie zusammen mit Fritz Eberhard und Hans Lehnert (1899–1942) aus dem Internationalen Sozialistischen Kampfbund ISK aus. Im Auftrag der International Transportworkers Federation unternahm sie im Frühjahr 1941 einen Versuch, in Südfrankreich festsitzende NS-Gegner zur Ausreise zu verhelfen, ein Versuch, der in Lissabon aus organisatorischen Gründen abgebrochen werden musste.

Der Sender der europäischen Revolution

Anfang 1940 wurde sie zusammen mit Fritz Eberhard als Beraterin in den Gillies-Ausschuss berufen. In ihm wurden konkrete Pläne für die Einrichtung eines sogenannten Schwarzsenders entwickelt. Der Sender der europäischen Revolution ging am 7. Oktober 1940 zum ersten Mal auf Sendung.

Auch nach der Auflösung des Gillies-Ausschusses 1941 bildete sie bis 1943 zusammen mit dem Gewerkschaftssekretär Walter Auerbach, dem Juristen Otto Kahn-Freund und Fritz Eberhard einen Diskussionskreis, der sich mit der Bekämpfung des Nationalsozialismus in Deutschland beschäftigte.

Im Auftrag des "Ministry of Economic Warfare" (MEW) wurde Hilde Meisel Mitarbeiterin des "Central European Joint Committee" (Propaganda und Nachrichtenauswertung).

Help Germany to revolt!
1942 erschien das Buch Help Germany to revolt! Es ist das letzte Buch, das sie zusammen mit Fritz Eberhard verfasst hat.

Fritz Eberhard dazu:

 Im Namen der Fabian Society verfaßte ich eine kleine Broschüre, wiederum zusammen mit Hilda Monte: 'Help German to revolt'. Sie war in Form eines Briefes an die Mitglieder der Labour-Party geschrieben, und ging eben auch von dem Gedanken aus, daß nicht alle Deutschen Nazis waren.

Es ist das einzige Buch von ihr, das heute noch – von der Friedrich-Ebert-Stiftung – vertrieben wird.

German Educational Reconstruction
1942 bereitete sie zusammen mit Fritz Borinski, Werner Milch, Minna Specht, Werner Burmeister, Fritz Eberhard und Otto Kahn-Freund die Gründung der German Educational Reconstruction Committee (G.E.R.) vor. Es handelte sich dabei um ein Projekt, das von der Union deutscher sozialistischer Organisationen in Großbritannien (Union) angestoßen wurde und sich mit der Planung und Vorbereitung einer Neuordnung des Bildungs- und Erziehungssystems im Nachkriegsdeutschland beschäftigte.

1943 beteiligte sie sich mit verschiedenen Beiträgen an diesem Projekt.

Die Union war eine Arbeitsgemeinschaft folgender Vertretungen deutscher sozialistischer Flüchtlinge: Sozialdemokratische Partei Deutschlands Sopade, Sozialistische Arbeiter-Partei SAPD, Gruppe Neu Beginnen (NB) und ISK. Sie wurde im Frühjahr 1941 auf Wunsch der Labour Party gegründet.

Nach eigener Aussage stellte sich die Union die Aufgabe, am Sturz des Hitler-Systems zu arbeiten und an der Seite der Alliierten für die Niederlage Hitlers zu wirken. Darüber hinaus wurden die Voraussetzungen und die Aufgaben einer kommenden einheitlichen sozialistischen Partei in Deutschland diskutiert und Gedanken über eine gemeinsame Zielsetzung ausgetauscht, um in einem demokratischen Nachkriegsdeutschland nicht die Fehler der Weimarer Republik zu wiederholen.

BBC
Hilde Meisel wirkte außerdem an den deutschen Arbeiter-Sendungen der BBC mit, wurde im Rahmen des Bildungsprogramms der britischen Streitkräfte tätig und näherte sich gegen Kriegsende wieder der ISK-Gruppe in London an.

Ein erhalten gebliebenes Rundfunk-Manuskript, das Mitte Dezember 1942 verfasst wurde, beschäftigt sich mit der Ermordung der europäischen Juden: "Was heute in Polen geschieht: die kaltblütige Ausrottung des jüdischen Volkes, das geschieht in Ihrem Namen, im Namen des deutschen Volkes [...] Beweisen Sie diesen Menschen Ihre Solidarität, auch wenn es Mut kostet - gerade wenn es Mut kostet."

The Unity of Europe
Ursprünglich hatte sie gemeinsam mit Walter Auerbach, Fritz Eberhard, Otto Kahn-Freund und Kurt Mandelbaum an dem Buch "The Next Germany. A Basis of Discussion on Peace in Europe" gearbeitet, aufgrund von Meinungsverschiedenheiten sich aber von diesem Projekt getrennt.

Ihre Ideen und umfassenden Konzepte für die wirtschaftliche Integration Europas sind dann in ihrem Buch "The Unity of Europe" veröffentlicht worden. Darin werden u. a. die ökonomischen Bedingungen einer europäischen Nachkriegsordnung behandelt. Mehrere Diplomarbeiten haben sich später mit dem Buch beschäftigt.

Beide Bücher sind 1943 veröffentlicht worden. In den Sozialistische Mitteilungen – News for German Socialists in England, Nr. 57, Ende Dezember 1943 – steht u. a. dazu:

 In einem etwa gleichzeitig erschienenen, vom Left Book Club herausgegebenen Buche 'The Unity of Europe' von Hilda Monte wird in einem kurzen Kapitel ebenfalls die Stellung Deutschlands in einem neuen Europa erörtert; grundsätzlich im gleichen Sinne wie in 'The Next Germany'. Das überaus lesenswerte Buch Montes ist reich an Tatsachen-Material und an instruktiven Erörterungen der politischen und wirtschaftlichen Zukunftsprobleme Europas und betont besonders den bisherigen Gegensatz des hochindustrialisierten Westens und des agrarischen Südostens Europas, der Export-Schwierigkeiten auf der einen, bäuerliche Armut auf der anderen Seite, Krisen, Spannungen und Unsicherheit zur Folge hatte und eine der Ursachen des Krieges wurde.

In geheimer Mission in die Schweiz

Im Sommer 1944 wurde Hilde Meisel im Rahmen des "Faust Project" von der "Labor Section" des Office of Strategic Services (OSS) angeworben. Der Amerikanische Geheimdienst suchte in dem Zeitraum um die 200 Agenten, die militärische und politische Nachrichten in Deutschland beschaffen sollten.

Außerhalb von London, in einem kleinen Privathaus, wurden zu diesem Zweck vom OSS mehrere Schulungskurse für die Teilnehmer des Projekts durchgeführt. Lehrer dieser Kurse waren Mitglieder der US-amerikanischen Armee, darunter auch Emigranten. Intensiv wurden die Teilnehmer auf den praktischen deutschen Alltag im nationalsozialistischen Deutschland vorbereitet. Dabei wurde unter anderem vermittelt, welche Meldeformulare gerade im Umlauf waren, welche Lebensmittelkarten benutzt wurden, wie man an eine Wohnung kam und welche Bescheinigungen man haben musste, um eine Arbeit zu bekommen. Zum Abschluss dieser Kurse wurden die Teilnehmer im Fallschirmspringen ausgebildet. Aus Geheimhaltungsgründen wurde ihnen untersagt, mit ihren Bekannten über ihre bevorstehenden Abreise zu sprechen.

Zusammen mit Anna Beyer wurde Hilde Meisel im September 1944 in einem kleinen Flugzeug nach Frankreich geflogen. Ursprünglich sollten beide in der Nähe von Lyon abgesetzt werden. Da aber zu dem Zeitpunkt dort noch gekämpft wurde, wurden die beiden Frauen in der Nähe des Genfersees unweit von Thonon-les-Bains auf einer Wiese abgesetzt, die seit Beginn des Krieges vom englischen Geheimdienst als Start- und Landeplatz benutzt wurde.

Von einem französischen Bauern wurden sie in einem alten offenen Wagen zu einem stillgelegten Stollen transportiert, wo sie von einem englischen Offizier begrüßt wurden. Durch seine Mithilfe gelangten beide nach Thonon-les-Bains, wo sie sich vier Wochen aufhielten, bis sie vom Schweizer Widerstandskämpfer René Bertholet abgeholt wurden. Dieser brachte sie in die Schweiz nach Zürich, wo sie mit neuen Papieren ausgestattet wurden. Die Teilnahme Hilda Montes an den "Föderalistentreffen" im Hause des Theologen Willem Adolf Visser 't Hooft in Genf im Frühjahr 1944 ist eine Fehlinformation, die wahrscheinlich auf einer falschen Angabe in den Erinnerungen von Altiero Spinelli beruht.

Zusammen mit Anna Beyer war die erste Station in der Schweiz im Oktober 1944 bei Intragna in den Tessiner Alpen. Das Ehepaar Bertholet unterhielt dort ein Ferienhaus namens "Al Forno", das als Aufenthaltsort von Emigranten benutzt wurde. Seit Herbst 1944 versuchten Zwangsarbeiter von Deutschland aus, schwimmend in die Schweiz zu flüchten. Um diesen Grenzverkehr zu unterbrechen, hatten die Deutschen die deutsch-schweizerische Grenze hermetisch abgeriegelt.

Kurz vor Kriegsende erhielten Anna Beyer, Hanna Bertholet, Änne Kappius und Hilde Meisel von der US-amerikanischen Vertretung in Bern eine Einladung. Bei diesem Treffen sollten die Frauen für Sabotageakte in Deutschland angeworben werden. Dieser Wunsch wurde von den angesprochenen Personen abgelehnt.

Etwas später nahm Hilde Meisel zusammen mit Karl Gerold, dem späteren Herausgeber der Frankfurter Rundschau, vom Tessin aus Verbindungen zu österreichischen Widerstandskreisen auf. Da eine geplante Infiltration nach Deutschland im Rahmen der OSS-Operation "Downend" nicht zustande kam, erklärte sie sich im April 1945 in Absprache mit Vertretern des OSS, des britischen Kriegsgeheimdienstes Special Operations Executive (SOE) und österreichischen Sozialisten in der Schweiz (v. a. Ludwig Klein) bereit, die Grenze illegal zu überschreiten, um Kontakte zu Sozialisten in Vorarlberg herzustellen. Meisel sollte vor allem die Infiltration des österreichischen Gewerkschafters und Sozialisten Stefan Wirlandner vorbereiten, der seit 1943 in der Türkei und Italien mit der SOE arbeitete und über die Schweiz nach Österreich vordringen sollte. Anfang April überquerte sie allein die Grenze nach Vorarlberg, um bei Kontakten in Bludenz, Feldkirch, Bregenz und Dornbirn die Aufnahme von Wirlandner vorzubereiten.

Tod bei illegalem Grenzübertritt

Am 17. April 1945 wurde Meisel auf dem Rückweg von Österreich in die Schweiz an der Grenze zu Liechtenstein in der Nähe von Feldkirch morgens gegen 6.30 Uhr in einem dichten Waldgebiet von einem Mitarbeiter der Zollgrenzschutzstelle Tisis angehalten. Bei einem Fluchtversuch wurde sie durch einen Schuss in den rechten Oberschenkel so schwer verletzt, dass die kurz darauf an der Blutung starb. In ihrem Rucksack fand sich neben einer Pistole samt Munition und "verschiedenen Effekten" ein Geldbetrag von 2042,78 Reichsmark. Da ihre Papiere auf "Eva Schneider" lauteten, wurde sie unter diesem Namen auf dem evangelischen Friedhof in Feldkirch beigesetzt. Erst zwei Jahre später wurde ihre wahre Identität durch den Vorarlberger Nationalratsabgeordneten Anton Linder aufgedeckt.

Da Meisels Mission gescheitert war, wartete Wirlandner das Kriegsende in der Schweiz ab und kam erst am 10. Mai 1945 mit OSS-Offizieren nach Österreich.

1946 wurde Hilde Meisel zu Unrecht als Drahtzieherin für das 1939 von Georg Elser auf Adolf Hitler verübte Bombenattentat verantwortlich gemacht.

Ihr heutiger Grabstein auf dem evangelischen Friedhof von Feldkirch wurde auf Initiative österreichischer Sozialisten errichtet.

Ehrungen

 Hilda-Monte-Straße in Bergkamen.
 Hilda-Monte-Weg in Hamburg-Neuallermöhe.
 Inschrift beim Widerstandsmahn- und Deserteursdenkmal in Bregenz: MEISEL, HILDE (MONTE–OLDAY) · UNTERGRUNDKAEMPFERIN IM EXIL · 1945 IN FELDKIRCH ERSCHOSSEN.
 Stolperstein in Berlin, der mit der zwischen Apostrophe gesetzten Formulierung 'auf der Flucht' den falschen Eindruck erweckt, sie sei in Wirklichkeit liquidiert worden.
 Hilde-Meisel-Vitrine im Jüdischen Museum in Hohenems.

Ausstellung
 Verfolgt. Verlobt. Verheiratet. Scheinehen ins Exil. Mai bis Oktober 2018, Jüdisches Museum Wien Standort Judenplatz, Kuratorinnen Sabine Bergler, Irene Messinger (darin: Hilda Monte); Prospekt
 Katalog: gleicher Titel, Hgg. wie Kuratorinnen, Verlag wie Aussteller ISBN 3-901398-85-6

Werke
Bücher und Broschüren
 Als Hilde Meisel: Gedichte Hans Lehnert. Europäische Verlagsanstalt, Hamburg 1950
 Als Hilda Monte:
 mit Fritz Eberhard: How to conquer Hitler. Jarrolds, London 1940
 mit Hellmut von Rauschenplat: Help Germany to revolt! (= Fabian Research Series, 62). Victor Gollancz, The Fabian Society, London 1942
 The Unity of Europe. Einl. Henry Noel Brailsford. Gollancz, London 1943
 Where freedom perished. Vorwort Jennis Lee. Gollancz, London 1947

 Artikel in Sozialistische Warte

Namen in [ ] sind die im Artikel verwendeten Pseudonyme
 [Selma Trier] Der Griff nach der Saar. Jg. 9. 1934, Nr. 8 (Dezember), S. 192–201
 [H. Monte] Krise und Ausbeutung. Jg. 11. 1936, Nr. 1 (Januar), S. 13–16
 [H. Monte] Neues Labour-Programm. Jg. 12. 1937, Nr. 10 (15. Mai 1937), S. 220–222
 [H. Monte] Evolutionaerer Kommunismus. Jg. 13. 1938, Nr. 12 (25. März 1938), S. 267–270
 [Hilde Monte] Die wirtschaftliche Unabhaengigkeit der CSR. Jg. 13. 1938, Nr. 26 (1. Juli 1938), S. 603–609
 [Hilde Monte] Ungarn vor der Wahl. Jg. 13. 1938, Nr. 28 (15. Juli 1938), S. 658–662
 [Hilde Monte] Die Erschliessung Polens. Jg. 13. 1938, Nr. 36 (9. September 1938), S. 845–848

Literatur
 Andreas Wilkens: Hilda Monte and the Unity of Europe. Resistance, solidarity and planning in exile, 1933-1945, in: Robert Belot, Daniela Preda (Hg.), Visions of Europe in the Resistance. Figures, Projects, Networks, Ideals, Bruxelles, Peter Lang, 2022, S. 393–420, ISBN 978-287574-452-4.
 Knut Bergbauer: Den Namenlosen ein Denkmal setzen. In: Der Freitag. Die Ost-West-Wochenzeitung, Nr. 31, 23. Juli 2004 (siehe Weblinks für Volltext)
 Fritz Eberhard: Arbeit gegen das Dritte Reich. 2. Aufl. Informationszentrum Berlin, Gedenk- und Bildungsstätte Stauffenbergstrasse, Berlin 1980
 Willi Eichler: Hilda Monte. In: Geist und Tat. 2. Jahrgang, Nr. 4, April 1947

 Max Fürst: Gefilte Fisch und wie es weiterging. Deutscher Taschenbuchverlag, München 2004 ISBN 3-423-13190-X
 Gisela Konopka: Mit Mut und Liebe. Weinheim 1996
 Annedore Leber: Das Gewissen steht auf. 64 Lebensbilder aus dem deutschen Widerstand 1933–1945. Hrsg. in Zusammenarbeit m. Willy Brandt u. Karl Dietrich Bracher. Berlin 1955
 Sabine Lemke-Müller: Ethik des Widerstands. Der Kampf des Internationalen Sozialistischen Kampfbundes (ISK) gegen den Nationalsozialismus. Bonn 1996
 Heiner Lindner: "Um etwas zu erreichen, muss man sich etwas vornehmen, von dem man glaubt, dass es unmöglich sei." Der Internationale Sozialistische Kampf-Bund (ISK) und seine Publikationen. Historisches Forschungszentrum, Bonn 2006
 Ursula Lücking (Hrsg.): Anna Beyer. Politik ist mein Leben. Waldemar Kramer Verlag, Frankfurt am Main 1991
 Dieter Nelles: Widerstand und internationale Solidarität. Die Internationale Transportarbeiter-Föderation (ITF) im Widerstand gegen den Nationalsozialismus unter besonderer Berücksichtigung der Seeleute. Klartext Verlag, Essen 2001 ISBN 3-88474-956-0 (Dissertation 2000)
 Werner Röder: Die deutschen sozialistischen Exilgruppen in Großbritannien 1940–1945. Verlag Neue Gesellschaft, Bonn-Bad Godesberg 1973 (2. Auflage), ISBN 3-87831-124-9.
 Vorstand der Sozialdemokratischen Partei Deutschlands (Hrsg.): Der Freiheit verpflichtet. Gedenkbuch der deutschen Sozialdemokratie im 20. Jahrhundert. Schüren, Marburg 2000 ISBN 3-89472-173-1
 Frédéric Stephan: Die Europavorstellungen im deutschen und französischen Widerstand gegen den Nationalsozialismus 1933/1940 bis 1945. Dissertation. Stuttgart 2002

Weblinks

 Literatur von und über Hilde Meisel im Katalog der Friedrich-Ebert-Stiftung

 Fritz Eberhard: Arbeit gegen das Dritte Reich (PDF-Datei; 5,92 MB)
 Thomas Tretzmüller: Sozialistische Europapläne während des 2. Weltkriegs am Beispiel des Internationalen Sozialistischen Kampf-Bundes und der Socialist Vanguard Group. In: Univie.ac.at, 4. Januar 2001.
 Hilde Meisel in Sozialistische Mitteilungen bei der Friedrich-Ebert-Stiftung
 Knut Bergbauer: Den Namenlosen ein Denkmal setzen. In: Der Freitag, 23. Juli 2004
 Andrew Rosthorn: May 1, 1939: Our founder strikes a deal to kill Hitler. In: Tribune, 5. März 2016, zuletzt geändert am 11. Oktober 2016 (englisch; viele Bilder)

Einzelnachweise

Autor
Politische Literatur
Emigrant aus dem Deutschen Reich zur Zeit des Nationalsozialismus
Person (Widerstand gegen den Nationalsozialismus)
ISK-Mitglied
Person (Office of Strategic Services)
Person, für die in Berlin-Wilmersdorf ein Stolperstein verlegt wurde
NS-Opfer
Literatur (Deutsch)
Literatur (Englisch)
Deutscher
Geboren 1914
Gestorben 1945
Frau


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text:
The casual racism of war-time Israel
By Edo Konrad November 13, 2018 | Edit
Trauma and racism are an inescapable part of Israeli society, especially on days when the drums of war are beating.
Illustrative photo of Israeli Border Police officers patting down a Palestinian man. (Yonatan Sindel/Flash90)
The bike ride along the outdoor platform of Tel Aviv's central bus station takes about a minute north to south.
The area, long neglected by the city, has become home to junkies, sex workers, the homeless, asylum seekers, and Palestinian day laborers.
It's also a hub for Israeli soldiers on their way to or from base. Old, half-shredded posters of Eritrean pop singers and fundamentalist Jewish religious figures warning of the End Times line the drab concrete wall that does full justice to the building's brutalist architecture.
I usually take my time and walk through, out of respect for pedestrians trying to make their way to the sherut ("service") taxis — yellow mini-buses that travel across the country to places as far as Tiberias or Ashdod whose drivers share a single common attribute: unyielding impatience.
This morning, however, I was late for work and couldn't afford the time to saunter. I crossed the street and turned left on the platform, peddling past a group of soldiers standing at the northern entrance to the station.
Next to them were five female Border Police officers surrounding a man in his 30s in sagging pants and a gray hoodie. They were examining his green ID card — he must have been Palestinian laborer from the West Bank. I slowed down, weary from a sight that repeats itself ad nauseam only to see that they had returned his ID and let him go. I breathed a sigh of relief and continued on.
In between the sheruts headed for Netanya and Nazareth stood a line of regular taxi cabs, their drivers standing, chatting among themselves in a half-circle, smoking cigarettes.
"Special deal for Israelis!" one them yelled as I rode past.
"Free rides to Ashdod and Ashkelon — for Israelis only!" he shouted once again, most likely as a gesture for those who may have family in the southern cities, the latter of which came under heavy rocket fire the night before.
"What about Arabs?" another driver asked, laughing.
Sherut taxis outside Tel Aviv's central bus station, March 12, 2010. (Rachael Cerrotti/Flash90)
I rode on until I reached the station's southernmost entrance, where a young boy dressed in soccer gear and a sports bag draped over his shoulder stood alongside an older man — perhaps his father or coach. The two were pleading with an armed security guard.
"There's no reason to call the police!" the father-coach said in a thick Arabic accent, his voice barely below a yell. "Why would you get the police involved?"
The boy simply looked on.
That minute-long bike ride was all I needed to be reminded of the fear, trauma, and hatred that exist under the surface in Israeli society, erupting most potently on days like this — when war feels inevitable, almost natural.
It's entirely possible that the timing of these three successive incidents was random. After all, out-in-the-open racism has become a feature of Israeli society.
And yet, it was hard to imagine that it was completely disconnected from the full-blown war that nearly broke a few hours earlier, when, following a botched IDF operation deep inside Gaza, retaliatory strikes from both sides escalated at dizzying speeds.
An Israeli man and his daughter come back to their house after it was hit by a rocket fired by Palestinians in the Gaza Strip, Ashkelon, south November 13, 2018. (Oren Ziv/Activestills.org)
Palestinians fired over 400 rockets into southern Israel in a day's time, killing a Palestinian man in the city of Ashkelon and wounding dozens. Israel, for its part, launched more than 150 airstrikes in Gaza, killing six Gazans, and leveling a major television station, a hotel, and the Hamas intelligence building.
For now, both Israel and the Palestinian factions in Gaza have reportedly agreed to an Egyptian-brokered ceasefire. Things may just go back to normal.
Yet the minute-long bike ride along the central bus station echoed the fever pitch racism we witnessed during the last Gaza war in 2014. Palestinian citizens of Israel were fired for speaking out against the war on social media. Both Palestinian and Israeli left-wing activists were physically beaten in the streets of Tel Aviv, Jerusalem, and Haifa, by right-wing thugs. Racist incidents, and rhetoric, seemed to spike. Speaking out against government policies or the IDF's actions became, almost overnight, beyond the pale.
Racism in Israel
Israeli Police
Palestinian workers

redpajama_set_name: RedPajamaCommonCrawl


Everyone of any age and any degree of skin pigmentation is susceptible to UV damage. Children are particularly susceptible to UV damage. People with light colored eyes may have an increased risk of certain eye diseases tied to UV exposure, including eye cancer. Some studies show that people with certain eye diseases such as retinal dystrophy may be at greater risk for UV-related sun damage.
More than two million Americans have cataract surgery each year. During this procedure, the eye's lens is removed, leaving the eye more vulnerable to UV light. The natural lens is usually replaced by an intraocular lens (IOL). Older intraocular lenses absorb much less UV light than ordinary glass or plastic eyeglass lenses. Manufacturers of IOLs now make most of their products UV-absorbent.
If you have recently had photodynamic therapy for age-related macular degeneration (AMD), you should also be careful to avoid sunlight.
Anti-inflammatory pain relievers like ibuprofen and naproxen sodium have also been shown to cause photosensitivity, though the reaction is rare.
Have blue or green eyes? Cover up with a hat and glasses to protect your vision. Some studies show that UV exposure and light irises may increase the risk of rare eye cancers, such as melanoma of the iris or uveal melanoma.
However, not everyone knows about the connection. According to a 2014 eye sun safety survey by the American Academy of Ophthalmology (conducted by Harris Poll), 54 percent of people in the United States reported having light colored eyes (blue, green or hazel), but less than a third of them that light eyes are associated with greater risk of certain eye diseases.


Andrew Orlowski has an excellent article in The Register about proposed changes to the UK intellectual property laws regarding "orphan works" entitled "The 'Google Review': Opt in for your rights".
The concerns in the creative community (especially the visual artist community) is best exemplified by the Google Books case–give them an inch and they take a mile. Orphan works legislation was not ever intended to permit the mass digitization of entire libraries and was intended to present a method for potential users to find creators to seek a license. What the Google Books case clearly establishes (after Google scanned 15 million books and counting) is that care must be taken in crafting orphan works legislation not to create a de facto compulsory license.
This is the reference to "opt in to protect your rights" in the Orlowski article–the copyright law does not require creators to comply with particular registration requirements or other "formalities" (which are in fact prohibited by international treaty).
A quick read and highly informative for artists who want to understand their rights in the online world.
New artists often think that the first person they need on their team is a "manager". They've all heard the stories of the "big" managers who can snap their fingers and make something happen for their clients.
The reality is that when an artist is just starting out, those first 1,000 to 10,000 units are just as hard to sell for the new artist using Internet based tools as it is for the big manager with the major label backing. When I say "sell", I mean that literally—get someone who you don't know to pay money for your record. I don't mean some promotional gimmick or getting a retailer to take some units they can later return for full refund. That's not a "sale." Real sales have always been hard, and they are just as hard in the current environment as ever, and actually given the levels of theft, much harder.
So getting a manager may not be your first move in assembling your team. Let's talk about what a manager does and what a manager does not do.
Not a Personal Assistant: A manager does not walk your dog, pick up your laundry, pay your bills or tie your shoes. A manager also does not remind you to do any of the foregoing, nag you to wash your dishes, or loan you money. This person is usually called a personal assistant, kind of a cross between a gofer and a parent. Good managers will not do any of that stuff.
Not a Booking Agent: Strictly speaking, a manager does not get you work (a/k/a "procure employment"), particularly not in California. However, most new bands have the expectation that if they do not have a booking agent, a manager will get them shows. This is a problem for the manager, because anyone other than a licensed booking agent (which usually means licensed by the State where they reside) is not supposed to book shows. There are a lot of reasons for this, but think "casting couch" and some will become clear. It is also true that a booking agent is a specialized employment agency, and employment agencies are highly regulated. Even so, it is not unusual to hear that managers are booking "pump priming" shows, usually at clubs or festivals for low or no performance fees, in order to showcase their band for agents. This can go on for a while, including after the band is signed to a major label.
Another reason a manager is not a booking agent is that most booking agents are "franchised", meaning that they have signed an agreement with the American Federation of Musicians or possibly other unions. That franchise status is very important because without it, the agent will not be able to book union members—which is essentially all touring artists. The franchise agreement has limitations on how much commission the agent can charge, usually 10%. Managers charge more.
Not a tour manager or roadie: Most managers will do not go on tour with their bands, at least not for all of the shows. They do not hump gear, they do not settle or argue about the value of towels (usually), they do not drive the truck, van or bus. They may have done all those things in other lives, but they do not do those things now.
Personal managers typically will say that they give career advice. Of course, they do much more than that, but given the things they don't do, you can see that if you think of "career advice" in the very broad sense and then you add in shopping a record deal, booking agent, publishing deal, setting up co-writes, finding a producer and negotiating the deals for all of these people in concert with your booking agent or lawyer, you begin to get the idea.
The personal manager often—and usually—comes up with most of the marketing plan for your band, then runs interference to make sure that all the people involved can actually execute that plan on time and in concert as a team. You could call this an "uber product manager"—a manager of managers. The better the artist's personal manager is at that, the better off the artist should be.
This post continues in the podcast and accompanying article narrated and written by Chris Castle—get it in the RSS feed or on iTunes!
Artists will eventually come into contact with either a co-writer, or a co-writing producer, who is themselves signed to a major publishing company. When co-writing with such a person, artists need to be careful that they are not getting the benefit of a terrific co-writer, only to find themselves locked into a relationship with a business partner who has none of their best interests in mind.
I'm as leery of "exposure" opportunities as anyone, and fully recognize that this is usually bull. But–there actually are such opportunities that really do benefit the artist—and therefore the writers if the promo use stimulates sales of royalty-bearing tracks. As long as the use is prominent and there truly is commensurate marketing and promotional value, then the artist should be able to grant a free or reduced rate license for their recording of the song. This is particularly true when the co-writer was invited into the artist's writing sessions or was hired as a producer—the co-writer was given an opportunity to work with the artist, not have their publisher hold the artist up.
I assume that the co-writer has already agreed to any "controlled compositions" clause that the artist is subject to under the artist's record deal. This is the minimum that an artist should expect who invites a co-writer to write songs on the artist's album.
One caveat to the following points is that every now and then a new artist will get to write with someone who truly is an "A" list writer and who does not intend to take a reduced rate mechanical. That's fine, I understand that, and if that's the deal, then let's get that understanding up front. But if an "A" list writer is writing with a developing artist, that logic does not translate to other promotional type uses that the artist wants to take for the greater good.
Let's take a few examples of how this tension manifests itself: iTunes downloads of the week, promotional video channels, artist website or sponsor website uses and film/TV/commercial licenses with more promotional benefit than dollars for up front fees. It's very difficult to stomach someone who does nothing to help promote the sales of records in which they have an interest sitting back and trying to dictate terms to an artist who is trying to make something happen.
Promotional Video Channels: Some video channels, e.g., Channel One, want royalty free licenses. Some major publishers won't grant that license as a matter of policy. They don't care whether it benefits the artist to get the exposure, they are more concerned with enforcing their "policy" in general rather than any particular issue.
Artist Website or Sponsor Website Uses: When an artist uses their own recordings on their artist website or wants to grant a free license to their sponsors to use a recording on the sponsor's website, it is very difficult to explain why a co-writer's publisher refuses to grant a free license for those uses. The fact that the sponsor paid a fee to the artist that the artist used to defray touring expenses to promote the sales of their record (generating mechanicals for the co-writer) and did not share the sponsor fee with the co-writer or their publisher seems like the tail wagging the dog—or like the artist asking for a share of the co-writer's advances from their publisher.
Film/TV/Commercials: Publishers will often tell you that they are better able than you to get big money for licenses because (a) they've been doing it longer, (b) they are bigger than you, (c) they have the relationships, etc. This is also known as "blowing the deal." If this condescending swagger were limited to opportunities brought to the writers by the co-writer's publisher that the publisher actually developed, that would be one thing.
This is mostly because it is the artist's recording of the song that is used as the marketing tool and that is being promoted generally to the public. Most of the time, the opportunity came because the artist answered the phone, it's part of an overall sponsorship that the artist developed, or because the artist has a placement agent (or label) who went out and developed the licensing opportunity.
In these situations—again, when the license is also for the artist's recording which the publisher had nothing to do with creating—the artist should be able to make the call on fees. This is not a "cover" of an existing song—it is a co-write by invitation.
One for You, Nineteen for Me: Is Kickstarter money taxable?
The short answer is: Talk to your CPA.
You may also want to ask your tax advisor whether "rewards" are actually sales subject to state or local sales tax in your state. By setting a "reward" for a specific dollar amount, particularly involving a CD or another good that would typically be subject to sales tax, the "reward" starts to look a lot like a "price". If there is a sales tax payable, the burden would likely fall on the artist and not Kickstarter–however, the IRS or state tax authorities may decide that Kickstarter should be collecting sales tax particularly since there is probably hundreds of thousands if not millions of dollars due in sales tax because if Kickstarter projects. Also–I'm referrring to "Kickstarter", but the same issues will probably come up in almost any "crowdfunding" situation.
But I think the Kickstarter relationship between artist and funder could be fairly described as a contract–the Kickstarter "deal" is a promise to do something if certain conditions are met. This is most likely going to be viewed as a "unilateral contract" and not as a gift. It's also not like "panhandling" in that there seems to be a future promise to perform under a unilateral contract. So the payor says if I give you X then you will do Y. The payor also gets some "rewards" bling in most instances (which appears to be a fairly well defined fair market value (aka a price) based on the contribution level required to get the "rewards" bling). That looks taxable to me, although I'm not a tax expert.
Another question for your CPA is whether you need to pay self-employment tax on the Kickstarter revenue. I think there's a pretty good argument that you do. There's also possible that if you spend the entire Kickstarter payment on business expenses, you may not owe any income tax. You may, however, owe self-employment tax. This is a situation that is specific to every individual, so you need to get your own tax advice to see what your exposure might be.
If I'm correct in the analysis, not only would the Kickstarter income be taxable for the recipient, it would not be deductible for the payor. You should also take a close look at the instructions for IRS Form 1099-K which will be required starting with the 2011 tax year. I looks to me like Kickstarter (or more likely their payment processor) will need to report Kickstarter income to the IRS beginning with the 2011 tax year. Update: See this page on Amazon Payments dealing with Amazon Payments filing the IRS 1099-K for Kickstarter projects (I wonder if the "K" stands for "Kickstarter"). Looks like the IRS is paying attention.
Don't forget—this is not legal advice, and you should not rely on it. Talk to your CPA about your own situation, but be aware that these are real issues.
The difference between tax avoidance and tax evasion is that you wear stripes for tax evasion. And I don't mean pin stripes.
And by the way—if you find a discussion of this issue on the Kickstarter site, please send us the link. We weren't able to locate it.
Digital Aggregator Deals: Is the New Boss Worse Than the Old Boss?
A great video about integrating Topspin.
Featured Smart Artist Video: What is SoundExchange?
When a record is played on "terrestrial" broadcast radio in the United States (i.e., over the air), who makes money? Since a radio broadcast is a "public performance" of the song in the record under the U.S. Copyright Act, the songwriters and publishers make money through their performing rights organization, whether ASCAP, BMI or SESAC. But does the artist? Does the session drummer? Does the record company?
If the same record is played in Canada, the United Kingdom, Japan, or any one of a host of other countries, not only do the songwriters and publishers get paid a royalty through their PRO, but the artists, session players and copyright owner of the recording also get paid through a sound recording PRO.
But—due to changes in US law in the 1990s–if the same record is played in the U.S. online (like Pandora or Sirius-XM Radio), not only do the songwriters and publishers get their royalty, but the artists, session players and vocalists and record companies also get a royalty through a new PRO for sound recordings.
Weird, you say? True. But no stranger than the tax laws. Just like the tax laws, our copyright laws are the result of deals cut in Washington between interested parties, and the deal that cut out sound recordings from a performance royalty was made a long time ago between the broadcasters and the record companies. The goal of the recording community is to bring the U.S. in line with the laws of most other countries–the broadcasters oppose that goal because it makes the music they play more costly, and they have had the clout to win the issue in Washington, just like so many other changes in the laws that have created the most severe media consolidation in the world. If you were a cynical person, you might say that's because there is a radio station in every Congressional district, but record companies in only a few.
Congress amended the Copyright Act in the 1990s to establish a limited public performance royalty for digital transmissions of sound recordings. "Digital transmissions" includes satellite radio like Sirius-XM, webcasting (or "Internet radio) like Pandora, and the Internet broadcast (or "simulcast") of terrestrial radio stations like when your favorite radio station simulcasts its broadcast signal over the Internet. Although this limited performance right is a small step forward, it is a huge victory against the broadcasters, particularly as the industry moves toward digital radio.
These new laws established what is commonly called a "statutory" or "compulsory" license to stream sound recordings as long as the music being streamed complies with the restrictions on the license limiting the use to public performance, sequencing, and a few other restrictions. This statutory license does not include on-demand streaming or downloads (such as an on-demand subscription service). The statutory license eliminates the need to get a separate license from each copyright owner as long as you comply with the rules and pay the royalty. (We already have a compulsory license for mechanical royalties paid on songs when a digital or physical record is sold.) The statutory license only applies to streaming, not to downloading or any other interactive use of music that involves the user choosing which specific tracks they want to listen to.
These amendments to the Copyright Act divided statutory sound recording royalties among four groups: copyright owners (50%), featured artists (45%), nonfeatured musicians (2.5%) and nonfeatured vocalists (2.5%). "Copyright owners" typically means record companies, but independent artists, or any artist who owns their own recordings, qualifies as a "copyright owner." It does not include songwriters or music publishers, although their right to public performance income requires no change in the law.
The Act also established the first sound recording PRO in the U.S. called SoundExchange. SoundExchange is a non-profit organization with a board of directors divided equally between artist and sound recording copyright owner representatives.
SoundExchange collects royalties from the subscription satellite radio providers, webcasters and radio simulcasters, and pays that money out to the four groups. The nonfeatured musicians and vocalists, also known as session players and singers, have their money paid to trust funds established by the American Federation of Musicians and the American Federation of Radio and Television Artists. Featured artists and sound recording copyright owners are paid directly by SoundExchange.
While the Congress established how the pie was to be split in 1995, they only set a rate for certain satellite radio providers but didn't establish any other rates. That started a long process of negotiation which culiminated in the Webcaster Settlement Acts that allowed SoundExchange greater flexibility in negotiating rates with service providers and is a very positive step in the evolution of the PRO.
You can review the rates on the SoundExchange website or on the U.S. Copyright Office website .
Persons using the statutory license, such as Pandora or Sirius-XM Radio, must account and pay royalties to SoundExchange. SoundExchange must then account to individual members of the four groups. Establishing the databases for Sound Exchange to track plays and pay royalties is a monumental undertaking. Because the compulsory license is unlimited in scope, SoundExchange effectively must be prepared to account for every recording in the history of recorded music, both U.S. and foreign repertoire. SoundExchange has received massive downloads of label copy and accounting data from its record company members to establish its own database for accounting. This means that whatever information that an artist's record company has in its accounting system is likely now in the SoundExchange database, which is updated periodically.
It is important to note that featured artists who are signed to record companies are paid their webcasting royalties directly—regardless of whether they are recouped in their accounts with their labels.
Independent artists, however, may not have been included in the SoundExchange database. You can confirm whether you are listed in the database by signing up for a free account on the "PLAYS" system and also checking if SoundExchange is holding money for you. Remember, if you are a "featured artist", that just means that you are the artist who is featured on the recording, not that you have to be signed to a record company, so independent artists qualify for webcasting royalties, too, and probably qualify as copyright owners as well. Also–you do not have to be a US citizen or resident. SoundExchange collects for everyone, so go to the site to see if they have money for you or to register.
It would be a very unusual result indeed if every piece of data in the SoundExchange system was exactly correct, and I frankly don't think it's fair to expect perfection under the circumstances. I will say that I believe that the SoundExchange staff are committed to running a tight ship and giving people a straight count. I would strongly suggest that everyone with a stake in this royalty pool check to confirm if you are in the SoundExchange system, and if you are that your information is correct. You can do this by yourself by getting a PLAYS account and looking up your recordings. If you haven't registered yourself with SoundExchange, you should assume that there's something incomplete or incorrect about the data and you need to review it to make sure it's complete and correct. If it's incorrect, the SoundExchange staff will work with you to correct it. In my practice, the two most common problems are absence of information, or someone incorrectly claiming copyright ownership. Absence of information is often providing the missing link on data that is in the database, or inputting data for the first time.
The trickier problem is the problem of the incorrect copyright owner. Most of the time I believe this to be innocuous and innocent mistakes. For example, if a major label distributes an independent label—and only distributes, i.e., takes no ownership interest—they are not entitled to the copyright owner's share of royalties because they are not the copyright owner. Yet very often the distributor ends up being reflected in the SoundExchange database as the copyright owner.
The more insidious problem—and let's just call it a head scratcher without casting aspersions or assigning blame—is when a content aggregator is reflected as the copyright owner when the artist is not registered. This means that the SoundExchange database recognizes that independent artist Joe Smith is the artist for Joe's Song but has no contact information for Joe Smith. However, Joe Smith has done a digital distribution agreement with one of the aggregators to represent his catalog and SoundExchange reflects the aggregator as the copyright owner and pays the copyright owner's share to the aggregator. No aggregator agreement should ever allow an aggregator to do this, or to have anything to do with SoundExchange in my view. It's not really SoundExchange's fault, either, as they can only do so much to police the information they are provided in the first instance. At the end of the day, its up to each interested party to make sure that their business is organized and that they are correctly registered with SoundExchange, just as they would expect to be correctly registered with ASCAP, BMI or SESAC.
SoundExchange collects hundreds of millions of dollars in statutory royalties in the US, and has begun collecting foreign public performance royalties for their members. (You don't have to actually join SoundExchange, but membership is free and has benefits–review the SoundExchange website for details. If it were me, I would join.) The total performance royalties in the European Union alone are in excess of $500 million annually. SoundExchange has reciprocal agreements with some of its counterparts in the United Kingdom, Mexico and the Netherlands and that list is groing.
SoundExchange will very likely be the administrator of these royalties, and that will be real money. So it's a good idea for artists to get their business straight with SoundExchange now.
Copyright 2003-2011, Chris Castle. All Rights Reserved.
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by U G | Sep 17, 2019 | Books, Effects, VST Effects, VST Instruments, VST Plugins
How to Build VST Plugin: Path to Guru
Have you ever thought about the cost to develop a VST was out of reach?
Have you found clear instruction from start to end how to build a VST Plugin dissatisfying?
We know how you feel;
We were once there painstaking hours of research ending nowhere.
We found a way from many years of not giving up our search.
Inside this book, you will find out how to create your own VST Plugins with low budget software.
Don't underestimate the price we created all our plugins using this wonderful software.
Best of all, throw away all your C++ codebooks, code not anymore. With this software everything done visually.
We teach you how we found this hidden gem where you can find.We give you a rundown of how it works.
Debut Track from Dinner Combination 6 – Enjoy the jazzy chill music!
iZotope, Inc. The T-Pain Effect Audio Plug-in
by H V | Jan 1, 2015 | Announcements, VST Effects, VST Plugins
The T-Pain Effect is a collection of three fun and easy music making tools that help everyone to make music. Make beats and record vocals featuring the distinctive sound of T-Pain himself! The T-Pain Effect centers on The T-Pain Engine, a self-contained beat-making and vocal recording application for PC and Mac. Aspiring artists can choose from over 50 beats of different genres, pre-arranged into song patterns to help them get going quickly. With the beat in place, users can then sing, rap, or speak on one or two vocal tracks to record a song with ease. Beats and song patterns can be customized and vocals can be edited, including punch-in recording for retakes. For more vocal flavor, users can add the distinctive T-Pain Effect to the vocal tracks, tweaking the hardness and softness controls to dial in just the right sound. Then, after adjusting the levels of the final mix, the completed song can be exported and shared with friends or published directly to SoundCloud to share with the online world.
In addition to the standalone T-Pain Engine, the product includes a VST, AU, and RTAS plug-in version of The T-Pain Effect for use with popular digital audio workstations (DAWs) such as Pro Tools, GarageBand, Cubase, SONAR, Logic, and many more. The plug-in is a professional-level tool for any music production studio, including real-time monitoring through the host program and extended controls for dialing in hardness/softness and the appropriate scale.The product also includes iDrum: T-Pain Edition, a virtual drum machine that includes over 50 custom T-Pain iDrum kits with all-new samples. Used as a standalone application or a plug-in, users can arrange beats into songs, create new kits and patterns, import their own samples, and edit samples with effects like pitch, filter, and decay. iDrum T-Pain Edition is fully compatible with other content from iZotope's various iDrum titles.
Make beats with The T-Pain Engine, record your vocals, and share your music by posting straight to SoundCloud.
Explore hundreds of professionally-designed beats inspired by over 50 new T-Pain iDrum kits, each with all-new samples.
Use The T-Pain Effect plug-in independently in your favorite host DAW.
iZotope Ozone 5 Audio Plug-in
by H V | Jul 4, 2014 | Announcements
iZotope's complete mastering system in a single integrated plug-in includes eight essential mastering tools to make your recordings sound their very best. The process of mastering ranges from correcting mistakes made in the mix to preparing a recording for target listening environments. Like a final coat of polish, mastering makes the difference between a good-sounding mix and a professional-sounding master. With an intuitive workflow presented in one powerful interface, Ozone 5 makes the mastering process simpler and more efficient than ever before. Enhance your sound with modules that include a Maximizer, Equalizer, Dynamics, Stereo Imaging, Post Equalizer, Harmonic Exciter, Reverb, and Dithering. Whether you're a seasoned professional or simply ready to take your productions to the next level, Ozone is the complete solution you need. Your mix isn't finished until Ozone is on it.
Over 250 professionally-designed presets provide quick starting points and easy adjustments.
Advanced controls in every module provide extended tweaking and customization of your sound.
Powerful mid/side and multiband processing options add even more flexibility over your mixes.
Perfect for musicians, producers, engineers, and anyone looking to improve the sound of their audio.


Abhishek is 28 years old. Does he want to know how group health insurance plans differ from Regular Health Insurance Plan? Compared to the regular plan, why is the premium in the group plan low? Raj Khosla, founder, and MD of MarimanMantra.com says that the biggest advantage of the group health insurance plan is that it does not have a waiting period. Get to know info on group Health Insurance vs regular health insurance here.
This is usually in the Regular Health Plan. In the insurance policy, the waiting period is kept for the treatment of diseases. This is also called a cooling period.
During this period the insurance company is not responsible for paying the claim. Due to this, the settlement of claims is relatively high. A medical examination not needed. Premiums of group health plans are less because a large number of people insured. In this way, the insurance company benefits from a large scale.
The disadvantage of group plans is that insurance companies or institutions do not extend the insurance. In this way, you can not depend on them for the needs of your medical coverage. On the contrary, in the regular plan, the insurance company has to renew the policy legally. Regardless of whether you have taken your claim. Radhika took a floater health insurance plan in 2017. In 2018, the ports the policy. Maternity benefit was not offered in the old policy. At the same time, a new policy has given a two-year waiting period for Maternity Benefit. Does he want to know whether he will be able to take advantage of this benefit after June 2019?
Executive Director Sanjeev Kumar, in ICICI Lombard Insurance, says that in the new policy, the number of waiting periods reduced, which passed in the old policy. As Radhika's old policy did not have maternity coverage. Therefore, they will have to spend two years in order to get Maternity Benefit.
Rajiv has been renewing his Health Insurance policy every year for five years. He is now a high blood pressure. They want to know if they need to give this information to the insurance company? Sanjay Dutta, chief of underwriting claims and reinsurance in ICICI Lombard, says that Rajiv has been continuously renewing his health insurance policy for the past five years. Therefore, after the release of the policy, any change in his health will not consider as a pre-existing illness. They do not need to give such information to their company.
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I know. Two posts in the space of two weeks. A record.
Corn season is hitting its stride right now, and I don't want you to miss out. Its sweet goodness needs to be savored as much and as often as possible. Now.
You can use leftover corn or just cook up some extra ears to make this cold and creamy soup. A jalapeno pepper adds a nice bit of spice. Note that the pepper's heat is in the seeds, so add or subtract them as you see fit according to taste.
As a general rule, I don't usually add cream to soups because, well, you know, ladies and gents. But rules are made to be broken. And when it's just too damn hot, this is a whole meal and thereby justifies the indulgence.
1. Bring a large pot of salted water to a boil. Add the corn, cover the pot, and return the water to a boil. Turn off the heat and let rest for 5 minutes. With tongs, transfer corn to a platter and let cool.
2. With a sharp knife, scrape the kernels from the cob. Set aside 1/3 cup kernels for the garnish and transfer the remaining kernels to a bowl. Add the chicken stock, avocadoes, lime juice, jalapeño pepper, salt, and pepper.
3. In a blender in 2-cup batches, puree the soup until smooth. Transfer to a bowl. Stir in the cream and taste. Add more salt and pepper, if you like. Chill until cold.4. Ladle the soup into bowls. Sprinkle each with chili powder, cilantro leaves, and corn kernels. Serve a lime wedge with each bowl.
Tip #1: The sticky problem of scraping kernels off the cob without sending them to kingdom come in the process is solved with the use of a bundt pan or a smaller bowl set inside a larger one. Stand the base of the cob in the center hole of the bundt pan or upright in a small bowl set it in a larger one. Saw from top down. The kernels fall into the larger bowl without flying into every corner of your kitchen.
Tip #2 Warning! Hot soup! To puree hot liquid in a blender, only fill it 1/3 full. Cover the lid with a folded dishtowel and hold it down with your hand. Start on low speed, and increase the speed gradually.


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Friedrich Pütz (* 12. März 1950 in Köln) ist ein deutscher Komponist.

Leben
Pütz studierte an der Kölner Hochschule für Musik Komposition (Diplom), elektronische Musik und klassische Gitarre. 1985 gründete er das Friedrich Puetz Ensemble, welches in unterschiedlichen Zusammensetzungen auftrat. Dazu gehörten Konzerte im Rahmen einer Tournee durch Brasilien sowie ein Konzert im Rahmen eines Kongresses des nordrhein-westfälischen Komponisteninteressenverbandes. Außerdem spielte das Ensemble Werke des Komponisten sowie weitere Neue Musik auf LP und CD ein. 1998 gründete Pütz die Friedrich Puetz Edition.

Werk
Zu Pütz' Kompositionen gehört Kammermusik für Konzert und Unterricht sowie Orchestermusik.
1985 erschien mit Träumerei–Gedanken–Spiel die erste LP mit Kammermusik von Friedrich Pütz, 1986 folgte die LP Materialien für eine Reise nach einer Brasilien-Tournee des Friedrich Puetz Ensembles. 2001 wurde das Konzert für Gitarre und Orchester von der Kölner Orchestergesellschaft uraufgeführt. 2008 wurden die Stücke Saitenspiele für Gitarre sowie Variationen für Gitarre in Mainz uraufgeführt. 2009 erschien die CD Nachklänge mit Kompositionen für Gitarre von Friedrich Pütz aus den Jahren 1984 bis 2007.

Seit Jahren arbeitet der Komponist am groß angelegten Musiktheater Flucht. Jeder der sieben Teile des Werkes bildet ein Programm und kann aufgrund eigenen Charakters für sich stehen. Es handelt sich um ein Spiel für Stimmen, Instrumentalisten und Tänzer, dessen Akteure sich nach mitvollziehbaren Regeln einwirkend beteiligen. Damit wird eine selbstregelnde, nicht repressiv-dirigistische
Umsetzung angestrebt. Die Mischung aus Musik, Text, Pantomime und Tanz ist der multimediale Versuch einer systematischen Erfassung musikalischer Sachverhalte an vorliegenden Beispielen und während der Entstehung von Musik.

Kompositionen

 Strudel für 1–7 Spieler(-gruppen) (1971)
 13 Stücke für Gitarre (1978)
 Träumerei – Gedanken – Spiel für Gitarre (1980)
 Cellomusik für Violoncello solo (1981)
 Jeux für vier Gitarren oder Gitarrenchor (1981)
 Suante für Violine und Gitarre (1981)
 Trio für Flöte, Bratsche und Gitarre (1982)
 Für Kinder für Gitarre (1984)
 Auf/Zu für Klavier (1985)
 Pièce et Double für Flöte und Gitarre (1985)
 Simultan für Föte solo (1986)
 Cantus für Orgel solo (1997)
 Konzert für Gitarre und 12 Instrumente/Orchester (1998)
 Kinderspiele für Gitarre (1998)
 Hörst du? für Klavier (1998)
 Impulse I für Gitarre (1999)
 Impulse II für Gitarre (1999)
 Aftertwokata für Klavier (1999)
 Solo für Klarinette (1999)
 Trio für Bratsche, Heckelphon (Tenorsaxophon) und Klavier (1999)
 Hauskonzert für Violine und Gitarre (2002)
 Auf/Zu für Klavier (1985)
 Spielräume für Gitarre und Orchester
 Konzert für Klavier und Orchester
 Piece for Sarajevo für Orchester
 Cantus für Orgel
 Klavierzeit
 Pas de deux für Violine und Klavier
 Klaviertrio
 Lustheider Hausmusik für Stimme und Gitarre
 Zeitspiel für Stimme und Gitarre
 Flucht Musiktheater für Stimmen, Tänzer/Pantomimen und Instrumente, davon auch konzertante Orchesterfassung sieben eigenständiger Stücke (auch ohne Stimmen)

Einzelnachweise

Weblinks

 Kurzbiografie, Werke, Diskografie, Hörbeispiele
 Eintrag im Komponistenlexikon des Deutschen Musikrats
 Friedrich Pütz auf youtube

Komponist klassischer Musik (20. Jahrhundert)
Komponist (Deutschland)
Geboren 1950
Mann
Deutscher

redpajama_set_name: RedPajamaWikipedia


Who else cried watching this ??
Your amazing no matter what. Even if I dont know you. Personally. Smile inside. And think cherry blossoms falling around you in your favorite place.
Billie keep on smiling and being happy not sad.
I think it is sad as to what she has become at such a young age and I think it is showing. Fame may sound great but mixed with depression and anxiety for someone so young can create a lot more issues for them down the road. Though I don't know her family situation she seems very comfortable with their support.
NEXT ARTIST T0 SUICIDE IS BILLIE ELLISH !!!
It's really... I don't know.. but I am crying!
She changed a lot in just a year, in my opinion.
She look like she was stressed and this is why she says that, she still depressed but I do not think that much, I don't now, actually, think that , but I don't now if that's true.
yeah. shes depressed. but so is 90% of the world. so lets all be depressed together, and show support by letting everyone else know that they're not alone in this unfathomable sea of sadness and misery. so. yeah. i'm here, for now. and probably for a while. unless the world ends. then i'll probably be dead. but you know just like.. say hi or something? leave a reply?? idk man, just wanted to say that ya'll aren't alone, even if you feel like you are, and that people love you, somewhere in the world.
You please me a lot.your the one who inspires me.
i see a lot of lies in there.
Just MK ultra. Poor Billie.
She seemed sooo much nicer & chill just a year ago.
So she's Logan Paul in reverse??
I thought she was like 26 or 28 haha sorry oh my god your just 16?!! ?
The date of my birthday!!!
0:46 really shows the difference!
I have no idea who this is. Is this someone who is famous for being ignorant?
Dont even know if she'll hit the famous 27 mark... Sad to watch.
Wanna give her a big hug if I could, she looked so sad.


text:
Q: SSRS Report Builder and Firefox I have chosen SSRS to deliver ad-hoc reports via Report Models to my user. However I did not consider fully how this would work in different browsers.
I have now found that the Report Builder download (which is a Click Once application) does not work on Firefox. Instead of running and installing the application it only gives the option to "Save File". This puts the file ReportBuilder.application into the download list. When you then select to install it the install starts (the "Verifying application requirements" dialogue displays) but then there is an error. Details of the error are: -
ERROR SUMMARY
    Below is a summary of the errors, details of these errors are listed later in the log.
    * Activation of C:\Users\hobsong\Downloads\ReportBuilder(5).application resulted in exception. Following failure messages were detected:
        + Downloading file:///C:/Users/hobsong/Downloads/ReportBuilder.exe.manifest did not succeed.
        + Could not find file 'C:\Users\hobsong\Downloads\ReportBuilder.exe.manifest'.
        + Could not find file 'C:\Users\hobsong\Downloads\ReportBuilder.exe.manifest'.
        + Could not find file 'C:\Users\hobsong\Downloads\ReportBuilder.exe.manifest'.
I'm surprised by this lack of compatibility. Is it the same for all Click Once apps in Firefox?
Is there anything I can do?

A: You could try querying Google for "clickonce firefox" for some quick answers.
Or I could spoil you the fun and point you directly to FFClickOnce, a Firefox add-on created explicitely to allow Firefox users to download and run Click-one applications.

A: I was able to get the FFClickOnce extension to work on Firefox 4. I did so by opening the XPI extension file and modifying the 'install.rdf' to work for Firefox versions up to 4.0. I haven't played around with it too much, but it worked on SSRS 2008 R2.
http://www.mediafire.com/?ljqcod39sr1gd9b

redpajama_set_name: RedPajamaStackExchange


text:
layout: post
title: Solve Jump Game Problem using State Machine
description: "An O(n) and constant space solution for Jump Game Problem with State Machine"
categories:
  - development
  - en
tags:
  - Jump Game Problem
  - Algorithm
  - State Machine
comments: true
mathjax: null
featured: true
published: true
---

This Week I solved an interesting algorithm problem, [Jump Game Problem](https://leetcode.com/problems/jump-game/description/), with State Machine.

<!-- more -->

The problem is here:

> Given an array of non-negative integers, you are initially positioned at the first index of the array.
>
> Each element in the array represents your maximum jump length at that position.
>
> Determine if you are able to reach the last index.
>
> For example:
> A = `[2,3,1,1,4]`, return `true`.
>
> A = `[3,2,1,0,4]`, return `false`.

I've seen some solutions also come with an **O(n)** and constant space performance, but the solution is not easy to understood, and hard to reuse to other problem, but **State Machine** is a really strong and flexible way to solve limited state (like true/false state) problem.

For this problem, we know that the target is find a way to jump to last index, so we can have a instinct that this problem can be solve by inverse iteration. So let's have a try in this way.

First, the last index can be skip, as it already the last index, so the state always **true** no mater what.

Then we come to the 2nd number, we need to jump to last index, that's next index for this case, so this number should be 1 or above to jump to next. So if this number is > 0, state keep to **true**, or = 0, state transit to **false**.

For 3rd number, if 2nd number state is **true**, we only need to jump to next index. But if 2nd number state is **false**, we need to jump across 2nd, so this number needs to be > 1 to jump direct to the end.

And we can take more round to iterate all numbers.

Here is a diagram shows the state transition when iterating:

![Jump Game State](/images/post/jump-game-problem/jump-game-state.png)

In this diagram, we can find the simple pattern of state transition:

1. When current state is **true**, next state can be **true** if > 0, else transit to **false**.
2. When current state is **false**, next state transit to **true** only if the number is larger than count of continuous **false**s, else, state keep in **false**.

So we can write code now:

``` java
public boolean canJump(int[] nums) {
    boolean stateCanJump = true;
    int falseCount = 0;
    for (int i = 1; i < nums.length; i++) {
        int pos = nums.length - i - 1;
        int value = nums[pos];
        if (stateCanJump) {
            if (value == 0) {
                stateCanJump = false;
                falseCount = 1;
            }
        } else {
            if (value > falseCount) {
                stateCanJump = true;
                falseCount = 0;
            } else {
                falseCount++;
            }
        }
    }
    return stateCanJump;
}
```

And problem solved! Congratulations!

redpajama_set_name: RedPajamaGithub


text:
Final 1 2 3 4 Tot
Abilene Chrstn
Cent Arkansas
4:00 PM PT5:00 PM MT6:00 PM CT7:00 PM ET11:00 PM GMT7:00 AM 北京时间4:00 PM MST6:00 PM EST, Sep. 14, 2019
Estes Stadium/Pepsi Americas Center, Conway, Arkansas Attendance: 10,123
Blackman, Central Arkansas beat Abilene Christian 31-30
CFB Headlines
Jones among 4 Alabama players going pro
Miami coach Diaz to call defensive plays
Vanderbilt's Lea adds 2 women to staff
Florida adds former Auburn DT Newkirk
Duke's Cutcliffe gives up play-calling
NC State QB Hockman commits to MTSU
New WAC resurrecting football in FCS
Top rusher Hart to be Michigan RBs coach
UCLA names Jerry Neuheisel WRs coach
Saban already chasing title No. 8
CONWAY, Ark. (AP) Carlos Blackman scored two touchdowns, including a 3-yard run to give Central Arkansas its first lead with 1:30 to play, and the Bears beat Abilene Christian 31-30 on Saturday night.
Blackman finished with eight carries for 16 yards and added a career-high 12 receptions for 82 yards and a TD. The senior running back came into the game with 35 career catches.
Breylin Smith was 36-of-53 passing for 367 yards and Lujuan Winningham had 119 yards receiving and a score on six receptions for Central Arkansas (3-0).
Smith hit Blackman for a 10-yard touchdown on the first play of the fourth quarter and BeSean McCoy ran in the 2-point conversion to make it 17-all. Blair Zepeda - whose 42-yard field goal in the second quarter was the first of his career - hit a 51-yarder fewer than 90 seconds later and Luke Anthony's 20-yard TD pass to Tyrese White gave ACU (1-2) a 27-17 lead with 11:07 remaining. Smith hit Winningham for a 20-yard score 58 seconds later and Zepeda added a 33-yard field goal to make it 30-24 with 5:28. Blackman's go-ahead TD run capped a nine-play, 72-yard drive.
Zepeda's 46-yard attempt with 35 seconds left fell short.
Juan Jackson, a 2018 first-team all-Southland Conference selection at defensive back for Central Arkansas, was ejected after a targeting foul midway through the fourth quarter.
Luke Anthony was 24 of 41 for 322 yards and a score and Tracy James had 21 carries for 84 yards and two touchdowns for ACU.


Raw.withTax currency : " : 2 ice. Declor, enjoy 25 off plus a free travel-size Aroma Cleanse Tonifying Lotion when you spend 60 on Declor. Raw.withTax currency : "
2, 2010. Gruley, Bryan; Giammona, Craig. Contents, history edit, early years edit, german immigrant, Oscar. Trentlage, 87, Who Wrote 'The Oscar Mayer Wiener Song Dies The New York Times, September 29, 2016 "Oscar Mayer Commercial 1973". Detroit, Michigan, and later in, chicago, Illinois. Show Recipes, used 429 times, like Oscar Mayer coupons? Four years later, Philip Morris acquired General Foods, and in 1989 merged General Foods with the newly acquired Kraft Foods Inc. I AM truly sorry! In 1919, the company made its first major expansion, with the purchase of a processing plant in Madison, Wisconsin.
In August 2017, Bloomberg Businessweek reported that the company planned to spend 10 million to reinvent the hot dog for a more health conscious consumer. It was written by Richard. I got even yelled at! Retrieved June 10, 2012. 5 Advertisements edit Oscar Mayer had several advertisements on TV ironside computers discount code involving young children, including the Oscar Mayer Wiener ad in 1965. Marys, Ontario ; Campbell, New York ; Lehigh Valley, Pennsylvania ; and the one in Madison. There are more than 5,000 cases per rep per day.


text:
Mississippi Attorney General's Office says Oxford can prohibit city employees from carrying weapons
Published 11:00 am Monday, April 9, 2018
By Alyssa Schnugg
The Mississippi Attorney General's Office issued an opinion recently at the request of the Oxford Board of Aldermen that municipalities have the authority to adopt employment policies restricting concealed and open carry of weapons.
According to the opinion released March 21, the Board of Aldermen instructed City Attorney Pope Mallette to seek the AG's opinion regarding the city's ability to impose restrictions on its employees' ability to carry firearms during the weekend.
"Specifically, the city of Oxford wishes to inquire whether it may prohibit the carrying of weapons, either concealed or open by on-duty municipal employees – other than law enforcement officers – while the employees are conducting city business, while on city property or not.
The opinion states that "it is the opinion of this office that the city may prohibit the carrying of firearms, concealed or open, by employees while such employees are on duty, both on and off of municipal property."
"Public employers obviously have a substantial interest in protecting both employees in the workplace as well as citizens, vendors, contractors or others that may be there," the opinion states. "Any regulations, rules or ordinances regarding carrying of weapons by employees should be accompanied by such findings when being adopted or promulgated."
Mallette said the request for the opinion was made to help the Oxford Human Resource Department with the review of its employee handbook.
"The HR department just needed to know what limitations there are on its ability to have policies related to firearms at work, whether at City Hall or elsewhere, before it recommends a specific policy to the Board for adoption," Mallette said Friday.
Braxton Tullos, Human Resources Director for the city of Oxford, said no new policy has yet to be discussed or approved by the Board. The request for the opinion, he said, was only to determine what the city is legally allowed to do in regards to weapons.
"Now that we have the Attorney General's Opinion, it is up to the Board of Aldermen to determine what restrictions, if any, to place on weapons," Tullos said.
A 92-year-old Mississippi woman saved her neighbor's life in…


> i'll throw in my $0.02 here.
>> the linux-modules-* or more probably kernel-package.
And I say you are wrong about that.
amongst the files included in the reported md5sums.
> updated as part of the package installation/configuration.


text:
MECHANICAL & INDUSTRIAL ENGINEERING
DOCTORAL THESES (MIED)
Please use this identifier to cite or link to this item: http://localhost:8081/xmlui/handle/123456789/14573
dc.contributor.author Debnath, Kishore -
dc.date.issued 2015-06 -
dc.identifier.uri http://hdl.handle.net/123456789/14573 -
dc.description.abstract The application spectrum of fiber-reinforced composites has increased at an unprecedented rate over the last few years owing to their outstanding multifunctional properties including high specific strength and stiffness, low density, good damping properties, and good chemical and corrosion resistance as compared to the conventional engineering materials. These materials are being used for making of wide variety of sophisticated engineering components used in aircraft, spacecraft, and automobile industries. Though, fiber-reinforced composites are considered as high-tech sophisticated materials, yet their selection as structural materials is often limited due to their poor machining performance. The inhomogeneous and anisotropic nature of the composites, low thermal conductivity of the composite constituents, and highly abrasive nature of the fibers renders the conventional machining techniques ineffective for machining of fiber-reinforced composites. Machining operations such as drilling, milling, turning, grinding, and boring are the most common machining operations that are usually performed on the composite parts. Among all the machining operations, drilling is an indispensable machining operation which is repeatedly and extensively performed for making of holes to facilitate assembly of several composite parts through mechanical fastening such as, bolting, riveting etc. It is well understood that the efficiency of the mechanical fastening is highly dependent on the surface quality of the drilled hole. The conventional drilling which is frequently used for making of holes in composite parts is not convenient anymore because of a plethora of challenges encountered. One of the perplexing challenges is the drilling-induced damage which majorly occurs due to the generation of thrust force and torque. The damage formed in and around the drilled hole creates an uneven surface which subsequently results in poor surface quality or rejection of viii the composite part. Furthermore, the heterogeneous nature of the composite subjects the drill bit to experience variable forces due to the difference in the properties of the matrix and reinforcement. The resultant forces result in damage of composites in the form of delamination, fiber pull-out, spalling, splintering etc. Therefore, the major research focus around the world is to minimize the drilling-induced damage by optimizing the cutting parameters, developing newer tool point geometries and drilling techniques dedicated to the drilling of fiber-reinforced composites. Therefore, there exists a research opportunity to conceptualize and develop cost-effective high-quality machining methods for composite laminates. In the last few decades, researchers have tried to conceptualize, develop, and commercialize the unconventional or advanced routes of processing with an objective of reducing the damage that is induced during drilling of fiber-reinforced composites. Advancements in the unconventional machining processes offer an opportunity to process these materials economically, thus realizing the full potential of the fiber-reinforced composites. The research and development work in the area of unconventional machining processes may lead to conceptualization of an optimal process that is suitable for damage-free drilling of a wide variety of composite parts. In the present research endeavour, the drilling behavior of the synthetic and natural fiber-reinforced composites has been experimentally investigated. The drilling behavior of the developed composites has been explored using three different drilling techniques namely, conventional drilling, modulation-assisted drilling, and rotary-mode ultrasonic drilling. One of the fundamental differences between the conventional drilling, modulation-assisted drilling, and rotary-mode ultrasonic drilling is: (a) in conventional drilling, the interaction between the tool and work material is direct which continues till the complete drilling operation culminates, (b) in modulation-assisted drilling, the interaction of the tool with the ix work material is pulse-intermittent, and (c) in rotary-mode ultrasonic drilling, there is no direct contact between tool and work material. The conventional drilling of the composite laminates has been carried out using three different drill point geometries under various combinations of spindle speed and feed. The characteristics of the formed chips and the behavior of thrust force and torque signals have been analysed and mapping of thrust force and torque has been proposed. Influence of drill point geometry, feed, and spindle speed on drilling forces has been investigated experimentally. A comparative analysis of damage characteristics of drilled hole using SEM has also been explored. The modulation-assisted drilling of the composite laminates has been carried out under different experimental conditions. The influence of the feed, frequency of rotation, drill point geometry, frequency of modulation, and modulation amplitude on the drilling-induced thrust force and subsequently damage has been experimentally investigated. The cutting mechanism has been emphasized in order to understand the drilling behavior of composite laminates. The rotary-mode ultrasonic drilling process has been conceptualized and developed in order to produce damage-free, clean-cut holes in the composite laminates. The performance of the developed process has been analysed in terms of material removal rate, tool wear rate, surface roughness, and damage produced during drilling of the composite laminates. The influence of various input parameters including power rating, slurry concentration, and abrasive size on the drilling characteristics of composite laminates has been experimentally investigated. The work being reported as the findings of the present research initiative will help in extending the understanding of drilling behavior of both natural and synthetic fiberreinforced polymer composites. Many new questions and potential areas for work in future x have arisen during the investigation, which shows that this area of research requires exhaustive studies to further enhance the understanding and knowledge in this field. en_US
dc.description.sponsorship Indian Institute of Technology Roorkee en_US
dc.publisher Dept. of Mechanical and Industrial Engineering iit Roorkee en_US
dc.subject Application Spectrum en_US
dc.subject High Specific en_US
dc.subject Low Density en_US
dc.subject Stiffness en_US
dc.title MACHINING BEHAVIOR OF FIBER-REINFORCED POLYMER COMPOSITES en_US
dc.type Thesis en_US
Appears in Collections: DOCTORAL THESES (MIED)
G24470-KISHORE-T.pdf 7.67 MB Adobe PDF View/Open


text:
Help Canisius Spread Word About Science Hall Via Email Signature
by Public Relations | Feb 22, 2012 | Faculty, Staff
All Canisius faculty and staff are asked to look for an Email tomorrow on the list serv in regards to helping the college spread the word about the Science Hall project via their personal Emails. Details will be sent then. We hope everyone will join in helping to spread the word about what an exciting project Science Hall will be for Canisius College.
Submitted by: Craig Chindemi, vice president, institutional advancement
Surveys For Academic Vice President Search Due Today (February 22)
The survey to evaluate candidates for the academic vice president position will be shut down as of 5 p.m. today (February 22). Those who wish to give feedback, and have not already done so, should submit the survey via Angel before 5 p.m.
Submitted by: Maryann Wayne, executive associate to the vice president, business & finance
Hockey Hosts Senior Day Friday (February 24)
by Public Relations | Feb 22, 2012 | Alumni, Faculty, Parents, Staff, Students
With the regular season coming to a close this weekend, the Canisius hockey team will take time out Friday (February 24) to honor two departing seniors. Dan Morrison and Scott Moser (pictured, right) will don the pads for their final regular season appearance when the Griffs host Mercyhurt at 7 p.m. in the Buffalo State Sports Arena.
Potentially, it's a big series for Canisius. Griff wins Friday at home and Saturday (February 25) at Mercyhurst, coupled with a pair of defeats by a struggling U/Conn team against AIC, would provide the Griffs with home ice advantage for the Atlantic Hockey playoffs.
For additional information on senior night and to follow the Griffs progress this weekend, visit www.gogriffs.com.
Submitted by: John Maddock, associate athletic director – external affairs, athletics
Occupy Movement, Economics Highlights Event
All are welcome to attend an event highlighting the dialogue on the relationship between the occupy movement and economics on Friday (February 24) from 2:30–5 p.m. in Regis South. Four Canisius professors from the Wehle School of Business and the Department of Philosophy, as well as activists from Occupy Buffalo, will take part. The schedule includes:
2:30-2:45 p.m. – Heron Simmonds-Price; "Growing the Commonwealth: John Locke's Understanding of Genesis 1:28—GDP or Gift Economies?"
2:45-3 p.m. – Craig Rogers, PhD; "The Audacity of Opportunity in the Face of Occupational Segregation and Tokenism"
3-3:15 p.m. – Michael Gent, PhD; "Neoliberalism and the Great Recession"
3:15-3:45 p.m. – Tanya Loughead, PhD, leads a roundtable discussion
3:45-4 p.m. – Break
4-4:15 p.m. – Henry James and Clinton Parker, "Cooperatives: a Working Model Now and For the Future"
4:15-4:30 p.m. – Albert Brown, "Resource Based Economies: an Emerging Model"
4:30-5 p.m. – Tanya Loughead, PhD, leads a roundtable discussion
Submitted by: Tanya Loughead, PhD, associate professor, philosophy


The Tamilnadu Physical Education and Sports University is a unique and first of its kind in India as an affiliating university, established in the year 2005. The university has five departments which offer innovative courses in the areas of Physical Education, Yoga, Exercise physiology & Biomechanics, Sports Management, Sports Psychology and Sociology, Advanced Sports Training and Sports Technology at post graduate and research levels.
Modern competitive sports require highly scientific and technical support systems that enable an individual athlete to achieve peak performance consistently. I am sure the advancement that takes place in the above said disciplines is quite useful to spot out and nurture the talents among the youth and enable them to be greater sportsmen. Inter disciplinary approach between physical education and sports sciences would augment the development of sports in India on par with western countries.
I wish the aspiring students to make use of the opportunities available in this university and enrich their knowledge and skill in the chosen field for their individual growth as well as for the growth of Nation's human resource and excellence in sports.
This University will work hard to achieve its vision through the three Faculties. I am sure that this Website will provide you a wealth of information about the programmes and activities offered by this university. I wish you all success in your endeavour.